Mine is a newly commissioned project with a title that refers on the one hand to the commercial activity that involves extracting valuable subterranean minerals and on the other appropriates the possessive pronoun referring to that which belongs to the associated speaker.

CURATED BY JULIA PAOLI

The artist collective jointly known as Tercerunquinto came together in 1998 and is comprised of Julio Castro Carreón, Gabriel Cázares Salas and Rolando Flores Tovar. Their projects involve processes of negotiation that enact architectural or infrastructural interventions within public and private spaces. In an effort to reveal the organization of cultural systems, Tercerunquinto’s projects interrogate the limits and possibilities of various institutional spheres and reveal the viewer’s subject position within the scope of such domains.

In 2005 the collective was invited to create a site-specific intervention at The Power Plant within the framework of a group exhibition entitled Dedicated to you but you weren’t listening curated by Reid Shier. Their project Open Access (2005) involved the installation of a second public entrance into the gallery allowing audiences the opportunity to circumvent admission fees and front of house staff and procedures. Ten years later, Tercerunquinto return to The Power Plant and reflect upon the changes to the site and surround of the institution.

Their response reduces the pristine white cube to a hole in the ground. Their gesture touches upon the traditions of indoor earthworks from the 1960s and 70s and its foray into a history of institutional critique. Mine is a newly commissioned project with a title that refers on the one hand to the commercial activity that involves extracting valuable subterranean minerals and on the other appropriates the possessive pronoun referring to that which belongs to the associated speaker. Through the artists’ nimble allusion to linguistic and geographic references, their project points to questions surrounding shifting conceptions of territory. More, their gesture of excavation disrupts the notion of ownership and complicates our understanding of property as it relates to both Canada’s mining industry and its relationship to Indigenous populations.

Their excavation began as an implicit response to a call for site-specificity, for commissioned work from the artist. As a result, Mine passes through several varied contexts in an effort to create a moment for discursivity, to reflect upon the sets of questions inherent in discussing appropriation. At its core, Mine calls out to its viewers and asks them to question their sense of possession: what does and does not belong to them.

Tercerunquinto was formed in 1998 in Monterrey, Mexico. The collective has developed projects that affect both public and private spaces, questioning the limits between the two, disarticulating the elements that make up these systems and disassembling the logical order of their interrelationships. It has also sought to challenge the borders organized around the constitution of a system, be it architectonic or urban, tracing their implications and effects in personal, social, cultural or political orders. Tercerunquinto has had solo exhibitions at Kunstmuseum Bochum, Germany (2014); Galerie Peter Kilchmann, Zurich (2013); Kunsthalle Basel, Switzerland (2013); Proyectos Monclova Gallery, Mexico City (2012); Museum of Contemporary Art Denver (2012); Matadero Madrid (2012); Espai d’art contemporani de Castelló, Castellón de la Plana, Spain (2011); and Sala de Arte Público Siqueiros, Mexico City (2011), among others. The artists have also shown in group exhibitions in such venues as The Modern Museum of Fort Worth, Texas; Centro de Arte Contemporáneo, Quito, Ecuador; Museo Tamayo Arte Contemporáneo, Mexico City; Stedelijk Museum voor Actuele Kunst, Gent, Belgium; Level 2 Gallery Tate Modern, London; Musée D’Art Moderne, Paris; and Centre d’Art Contemporain, Geneva, among others. Tercerunquinto is based in Mexico City.





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